A Quote by Kehinde Wiley
So sometimes you have to play your hand and sort of push in a direction. And I think that masculinity is the driving point for a lot of the way that people, like, posture in the work.
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Every city is different for playing, actually. That's one of the hardest things: to play abroad. Because sometimes you know your city and your audience and you know what to play and what people will dance to. And later, you go to a place and you think this thing will work and you start playing and it doesn't work, and you have to be able to go to another side just to try to find what people like or whatever, or, like, try to make people dance as they are more used to. I don't know, it's quite strange - people dance in different parts of Europe in a different way.
I think the show has sort of given me a name in this business and allowed a lot of people the opportunity to see what I can do, and it's just sort of like a sweet starting point.
I know a lot of animal communicators and I think a lot of them are just good behaviorists because they pick up on a lot little posture things like how the eyes look, the posture of the cat ears, is it tense? They're picking up just a lot of their body cues from the dog, the cat or the horse.
Wokeness, for what it's worth, is a buzzword that a lot of people are not truly understanding the depth of. I think sometimes things work their way into the zeitgeist, and they lose their weight. And wokeness is one of those words that has reached that point.
Work and play go hand in hand. A lot of people want to work, work, and work until 40, and then relax. Who says you'll get to 40? Or 50? Who knows what'll happen in the next five minutes? The only reality is the present. And if you can't learn to live in the moment, you'll never be content.
But to your point - you also raise a point, too, that it's not that, like, a bromance is necessarily a new thing. It's happened a lot in sort of big budget comedies in the past decade or so. But people have pointed out to us that we're doing a bromance, so to speak, but doing it in a different way that's even more authentic and real and sincere.
I was young, and I think your mistakes sort of mold you. It was important for me to make that one. After that, I definitely made it a point to not let others get in the way of what I wanted to do. Whether it's a relationship or your family or friends, the people close to you should encourage you to work towards your dreams. That was an important lesson for me to learn.
A lot of people see somebody who has one hand and not two, and they think it doesn't make sense. It's like, 'He has one hand, so how can he play football?' What if I say, 'You have two hands. How can you play football?'
What's beautiful about the actual acting class environment is that you can use it to push through everything: push your voice, push your inhibitions, push your fears, push your confidence, push your vulnerability, push your silences.
. . . people use tricks to get you to think the way they do or take away something you have that they want. One way they do that is to interrupt your normal way of thinking and take you by the hand and guide you down the path they want you to take. Father says they make you take a teeny-weeny step in their direction, and then they start to nudge you a little further down the path and before you know it, you're running full speed with them in a direction that you probably wouldn't have gone alone.
The most precise work is generally done by hand, with hand tools. Some people rely on machines for their precision, and my way of working is backwards. I rely on the machines for doing the gross stock removal and then, when it comes to the final refinements and fitting of joints and things, making things work together, I rely more on sharp-edged tools that I push by hand.
Masculinity is what you believe it to be. I think masculinity and femininity is something that's very old-fashioned. There's a whole new generation of people who aren't defined by their sex or race or who they like to sleep with.
Actors push pause on their lives, fly to foreign countries, invest so much and work so hard and get so intimate with a group of people from a crew and cast, and then they say 'that's a wrap' and you push play on your life and there's a middle part of the sandwich, or a tunnel or bridge that you have to kind of walk back over before you can hit play.
Sometimes it depends on the actor or the actress. Sometimes they demand a lot of rehearsals. Sometimes they don't. Making movies is not like making a play, so I guess you can leave some of the work for improvisation when they do the work.
There's a lot of big guys who can play-make. We put labels like, 'Oh, he's a point guard, he's a center.' But sometimes your center can play-make for you and not just be the center, boxing out for rebounds and playing in the post.
Image and music always works together for me. I think they're equally important and I've always done things in a way that people remember them by, but I don't set out to just shock people...because that's very easy, a lot of people could do that, I just like to do things the way that makes me happy really. And sometimes that's too much for certain people, but, you know, I try to push the envelope to make the boundaries wider as far as what you can and can't do in music.
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